Nadezhda Konstantinovna Bogdanova (1836–1897) - ballet dancer, daughter of the Bolshoi Theater ballerina Tatyana Karpakova (c. 1812–1842).
| Nadezhda Bogdanova | |
|---|---|
| Birth name | Nadezhda Konstantinovna Bogdanova |
| Date of Birth | 1836 |
| Date of death | 1897 |
| Citizenship |  Russian empire |
| Profession | ballet dancer |
Biography
Her father, Konstantin Fedorovich, was a dancer in Moscow ballet, a dance teacher at a theater school and a ballet director. Having been brought up in Didlo strict school, he taught his daughter with great diligence (he died in 1877) [1] .
12-year-old Bogdanova first performed on stage in Yaroslavl ; then she danced in different cities, everywhere enjoying great success. On the advice of Fanny, Elsler Bogdanova went to Paris , where she studied with Joseph Mazilier and Arthur Saint-Leon , and on October 20, 1851 appeared in front of the Parisian public in the ballet “The Marquitante ”, replacing the famous prima Carlotta Grisi in the title role. The success was tremendous and exceeded expectations, and criticism recognized her great talent. Since then, Nadezhda Bogdanova has become a favorite of Parisians. At the “ Juif Errant ” performance, she was literally bombarded with flowers, Meyerbeer redid the Robert scene specifically for her. For four years, N. Bogdanov danced with great success in the capital of France, right up to the Crimean War , when patriotism and a sense of personal dignity did not allow the ballerina to stay in a country fighting against the Russian Empire [1] .
In 1852, she performed in Vienna , dancing " Giselle ", a Mazurka and classical pas. Seconded by the Highest Command to the St. Petersburg theaters, Bogdanova performed here in 1856 in Giselle and caused a real delight. She became a spoof of the public, amazing with technology, admiring the charm, grace and ease of poses, as well as drama and facial expressions. Eclipsing Andreyanova, Bogdanova was placed on a par with F. Elsler, Taglioni, K. Grisi and others.
In addition to these ballets, her repertoire included : Esmeralda , Gazelda , Debutante, La Sylphide, Katarina, Meteora, Orphan Theolinda and much more. She enjoyed success no less than in Russia, touring in Berlin , Naples , Paris; as well as in Warsaw. [2]
From October 1862 to February 1863, Bogdanova danced in the city of Moscow . During the performance of the ballet " Naiad ", fell on stage and hurt herself. In the "Moscow Gazette" it was printed that she was hurt on purpose. In April 1864, Bogdanova’s contract with the management ended; no renewal followed; she was finally dismissed in 1875.
Nadezhda Konstantinovna Bogdanova died in 1897.
At the end of the 19th - beginning of the 20th centuries, Alexey Umansky left the following review on the actress’s work on the pages of the Brockhaus and Efron Encyclopedic Dictionary : “ B. danced very gracefully, with graceful liveliness, unusually deftly, with expressive facial expressions ” [1] .
Notes
- ↑ 1 2 3 Bogdanova, Nadezhda Konstantinovna // Encyclopedic Dictionary of Brockhaus and Efron : 86 volumes (82 volumes and 4 additional). - SPb. , 1890-1907.
- ↑ Janina Pudełek “Warszawski balet romantyczny” (“Warsaw Romantic Ballet”), Polskie Wydawnictwo Muzyczne, Krakow, 1968, pp. 88, 95, 155, 165-166, 171-172, 175-176, 180, 186, 188. Nadezhda Bogdanova also performed many times in Warsaw in ballets: Giselle , 1855, 1856, 1857, 1859, 1866; Esmeralda , 1855-1856, 1857, 1866; * Catherine, daughter of a bandit , 1857, 1859, 1866; Corsair , in 1866; The milliners, that is, the Paris Carnival , 1866; Sea robber ( Le Pirate ), in 1866; La Sylphide in the year 1866 and 1867; and Asmodea , 1859, 1866; then the partner on the stage for Nadezhda Bogdanovei was Anthony Tarnovsky, who, during the performance on February 11, 1866, experienced concussions. “The troupe was worried. Due to the marriage of the first dancer, no more ballet could be performed. With friendly help, Bogdanova hastened. She was the initiator and organizer of the benefit of the thing of multiple partners. She also managed to persuade Alexander Tarnovsky to return to the stage. Thanks to her, just at the benefit performance of Anton Tarnovsky, the public with sorrow said goodbye to the inferior artist and greeted the former favorite unusually cordially that both brothers moved into tears. ”The remission of depression by Alexandra Tarnovsky lasted only a year. “This year was enough to prepare a young, unfortunately not so wonderful heir in the person of Ludwik Rzadtsy.” So the Warsaw ballet thanks Nadezhda Bogdanovey for holding the crisis of 1866-1867.
Literature
- Umansky A.M. Bogdanova, Nadezhda Konstantinovna // Encyclopedic Dictionary of Brockhaus and Efron : 86 volumes (82 volumes and 4 additional). - SPb. , 1890-1907.